Arnold Schoenberg, String Quartet No. 3 (1927)
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- Опубликовано: 14 окт 2024
- Schoenberg diverged from the serial row-form in this String Quartet to the extent that, when questioned about a particular passage by a violinist from Kolisch's quartet he angrily responded: ''If I hear an F-sharp I will write an F-sharp . . . Just because of your stupid theory you are telling me what to write?'' This is an indication of his
revulsion towards conceptual responses to composition
as an actual expression of feeling in sound. He was telling the theorist What it Is.
How did Kolisch look at it? The tone rows are used as motifs and not as schematic solutions to tonic dilemmas. The series form a dense contrapuntal texture which, apparently untrue to form, return to classical compositional procedure. For example, in the First Movement there is the
suggestion of sonata form and what seems to be a relaxation of 12-tone technique as the same pitches occur for 12 measures, in apparent defiance of his principled compositional stance. There is a recurrence of varied shapes which function as connective rather than motivic tissue and the movement ends with a leaping and falling theme in an increasingly higher voice.
In the Second Movement there is a series of variations which violate stylistic expectation and appear to repudiate notions of format and theme. The Intermezzo Movement with prominent viola presents a fluid thematic section, suggesting a motif with a narrow range and repeated notes
culminating in a violent trio fading to a lyrical conclusion.
The Fourth Movement is dense and complex with a contrast of internal musical logic and its leaps within a narrow melodic range breathing inconclusiveness and a frenzy to recapitulate sonic material.
This is what we hear and perhaps how we might respond, but does it get to the essence of it? Strictly speaking, a composition refers to nothing but itself and in that respect Hanslick is right. But let us look more closely. I listen to the Kolisch String Quartet's interpretation of Schoenberg's
Third Quartet because I have the desire to hear it, a desire which is born of need or curiosity. This is also because of the unfulfilled expectation that the composition will present itself in the way in which Schoenberg wanted, without any concealment or betrayal by a theorist who might imagine that a composition is the end-result of a musicological
schema. I desire to experience the composition as a collaborative event in which an affective apprehension
will change me. This is an urge to transformation, not a confirmation of a sedimented emotional life which I might have. It is not a plea for the reassurance of a concretely determined pathology. It is an imaginative way out, a
reawakening. It possesses the logic of a dream
which will alter me. The Quartet is, therefore, not so much an object with quantifiable sonic or musicological
characteristics, but an event. This event takes place in time and it was written on a particular historical occasion. But when I listen to it I do not perceive it as an event in that sense. It is an occasion with a consuming fascination in which the everyday world has evaporated and only
essential meaning remains. This is the meaning of imaginative and affective apprehension. Quantifiable and calculable external circumstances have disappeared as I give myself over to the event. My apprehension of the
composition is not chronological but successive, the meaning of which unfolds as I attend to it. This is areal time, not the time of the clock, and its presenting itself is my composition, Schoenberg being the expressive inventor of the circumstance, the one who gives shape and logic to sound. The composition is not analogous to anything but itself and his Third Quartet invokes a meaning of
which, temporally and affectively,
I am the secret sharer.
We listen here for: What it Is.
Michael Lawrence Woods, Journal of Aesthetics and Culture, 2010
[This recording is by the Kohon String Quartet]
Cette musique est absolument somptueuse....richesse du discours mélodique, harmonies à couper le souffle, orchestration sans cesse renouvelée dans l’utilisation des timbres de l'orchestre, bref une babylonienne architecture sonore érigée par d’humbles et immenses compositeurs-interprètes ! Ce compositeur hors-normes a créé un nouvel univers sonore et chaque interprétation est la création unique d'un univers indépendant, c’est si naturel
Babylonien en effet! Excellent commentaire... Cela me fait penser à la célèbre remarque de Douanier Rousseau à un certain Pablo Picasso : "Moi je suis le plus grand peintre moderne du monde, et vous : vous êtes le plus grand peintre d'égypt antique de notre temps!"
Definitely a great work of art - no doubt about that.
This is probably my favorite Schoenberg quartet, but....
One of the most hilarious and predictable phenomena of composer shtick is when they disavow membership to the movements they inaugurate.
Debussy (in a French accent): "Those idiots! I am not an 'Impressionist'! Mon Dieu, what an execrable term! I am obviously a symbolist!"
Schoenberg (in his strained voice): "Your stupid theory of dodecaphony! Stupid stupid stupid stupid!"
Stravinsky: Officially hated the dinosaurs, though Hindemith told someone at the time of Fantasia's release that Stravinsky loved them.
Ahhh, good times.
wuuuuut
geniuses get to do stuff like that.
Source?
Stravinsky: "Why is it that every time I hear a piece I truly hate, it's by Villa-Lobos?"
The term impressionism was used pejoratively by critics and not by Debussy himself though
My fave among his quartets. A really unique soundscape and the second movement is beyond the beyond
Thanks for it. Once I thought, that this interpretation is not such good as Lasalle Quartet's, but now I know, that they're incomparable. Schoenberg created new universe of sound and each interpretation is unique creation of independent Universe.
Same exact feeling here. And I LOVE the LaSalle. But this is pretty revelatory.
You breathes the air from another planet
Thank you for this!
This one of the first serial works of Arnold Schoenberg. The serial technique is quite easy to perceive,l istneing v carefully to thr begiining of ther first, second and last movements.
and...
@@stueystuey1962 What do you mean? I was just explaining that Schoenberg used in this quartet some primary usdes of the series, so the serial structure and the series itself could be easily perceived at the points that I underlind. At the very beginniçg, for instance, the series is split into an accompanying ce'll and a malodic cell. As far as I may remeber, it can be heard melodiclaay at the beginning of the last movement. In fi urther works, the use of the series becomes lore complex and it can hardly be identified by hearing only.
and I appreciate it! seemed like you were going to continue the thought. all good. I'm a weird listener. im familiar with 1st and 2nd quartets for a long time. third more recently and fourth no knowledge ... yet.
Great work, and great liner notes. Thank you
Nice and smooth interpretation!
They won that year's Grammy award for Best Pizzicato, Dodecaphony (Chamber Music/Small Ensemble Performance) -- deservedly, I might add.
This composer is good. 97 years old and still relevant.
Check out Bernstein on Schoenberg 1-5 on my channel in #3 he talks about this piece .
thx
Schoenberg had no fear to feel. HIs compositions are absolutely the truth of a feeling which dives into the deepness of what we all have fear to experience. This place, where he is, is huge and he was brave enough to visit each obscure places of it. When will we be capable enough to discover all the hidden places of our minds? What is hidden in it? emptiness? And is emptiness what we pursue the most? is emptiness the origin of everuthing we create? aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
What kind of emptiness?
Esta música dofecafonica es difícil de entender pero es de gran valor por su complejidad
Absolutely amazing
lotsa fun, great video YAY!!!
Transcendent beauty in atonality.
Hay que escucharla con paciencia.
One of the first dodecaphonic works of Schoenberg. The series is obvious at the beginning.
This came after several others. If I recall correctly the Wind Quintet was one of the first few large-scale twelve-tone pieces.
Yes, there were a few works before this one, but one cannot say "several". The wind quintet is indeed the most important, with the Suite for Seven Instruments, Op. 29
Just got smacked upside the head by four acoustic Jelly 🍩's..... I like jelly Donut's.
Look. I get it. Carter, Ligeti, and grudgingly a few others it can be said that the "music" devolves into sound events. Transcendental yes.But this guy, this guy, MUSIC. Always!
But did he know how to whistle?
Did he know how to whistle? He once whistled Mahler's Symphony of a Thousand from beginning to end, and encored the performance with a Bach 4-voiced fugue!
You forgot to mention that the second encore was Ligeti's Atmospheres, which was only composed 20 years afterwards!
Wittgenstein's Vienna.
12音音楽です。
Bach rewritten for the twentieth century...
*******
I call a lot of composers genius. Carter, Babbitt, Wuorinen, Henze, Webern, Berg, Ligeti, Boulez, Schnittke, and Bartok but the real genius is Schoenberg.
Ja, auch 12-Ton-Musik kann "empahtisch" sein.
Was ist "empatische" Musik? Wenn die Musik, mich versteht?
Regentropfen auf Glasscheiben
でもハ長調
😂😂😂😂
I think it´s too cold and academic!